David Vanacore uses Lexicon to get close to reality

Vanacore works from a personal studio in his home; it is intricately wired to provide a number of different ambience spaces all routed back to the control room/living room. He notes that often he has to create the sense of large orchestral spaces using only keyboard-based instrumentation, and must ensure that his underscores complement each showâ€šÃ„Ã´s musical signatures. â€šÃ„ÃºA good recent example of that is The Contender. Composer Hans Zimmer scored the theme using a strong emphasis on French horns â€šÃ„Ã® a very Gladiator type of sound,â€šÃ„Ã¹ Vanacore explains. â€šÃ„ÃºI have to thread my scoring in and out of his theme. Sometimes Iâ€šÃ„Ã´ll subtly replace the real French horns with synthesizer ones. Thatâ€šÃ„Ã´s when I realized what the 960L is really capable of. It gets me incredibly close to the sound that Hans achieved using eight actual French horns in a large studio. Viewers never hear the shift from the real ones to the synthesizers, because the Lexiconâ€šÃ„Ã´s sound is as real as it gets. All the dimensions of a large orchestra are in that system.â€šÃ„Ã¹